You know So — you’ve heard “Sledgehammer,” you’ve wept to “Don’t Give Up,” and maybe you’ve even danced your heart out to “Big Time.” But beneath the surface of Peter Gabriel’s smash-hit 1986 album are layers of stories, quirks, and studio experiments that make the record even more fascinating. Here are 5 lesser-known facts about the album that turned the former Genesis frontman into a global pop icon:
1. “Sledgehammer” Almost Didn’t Make the Album
Believe it or not, Sledgehammer, the track that rocketed to #1 on the Billboard Hot 100 and spawned the most decorated MTV music video of all time, was a last-minute addition. The band was literally packing up their gear when Gabriel asked them to hang back and jam through one more idea. What they captured was a soul-infused, horn-blasted funk monster that sounded nothing like anything Gabriel had done before. It was inspired by Otis Redding and built in a single explosive session — and we’re all better for it.
2. He Nailed the Studio Door Shut
Gabriel was notorious for procrastinating when it came to lyrics — so much so that producer Daniel Lanois once nailed the door to the studio shut to force him to finish writing. It wasn’t the only time Lanois resorted to unorthodox motivation methods. On another occasion, he destroyed Gabriel’s telephone in the woods to eliminate distractions. The result? An album filled with lyrical beauty, poetic political commentary, and some of Gabriel’s most personal writing.
3. “In Your Eyes” Was Supposed to Be the Final Track… But the Vinyl Said No
“In Your Eyes,” Gabriel’s soaring love song that famously soundtracked Say Anything, was originally intended to close So. But its deep bassline proved problematic for vinyl pressings — tracks at the end of a side needed to avoid too much low-end to prevent skipping. So, it got bumped earlier in the tracklist for the LP. When CDs took over, Gabriel finally got his wish, restoring “In Your Eyes” to its rightful place as the album’s emotional finale.
4. The Secret Ingredient in “Don’t Give Up” Was a Baby Diaper
To achieve the soft, muted tone in “Don’t Give Up,” bassist Tony Levin did something unexpected: he stuffed a baby nappy behind his bass strings. He had brought them along for his two-month-old daughter, but they ended up shaping the sonic texture of one of Gabriel’s most heartfelt tracks. The rest of the song was just as intimate: inspired by Depression-era photography and sung as a duet with Kate Bush, it almost featured Dolly Parton — who declined the offer.
5. The Album Was Almost Called Good
Peter Gabriel’s So is the title that stuck — a minimalist, almost accidental name that defied industry expectations. But before it was So, it was briefly going to be titled Good. Gabriel has always hated naming albums, preferring his work to speak through the artwork or the music itself. The “anti-title” So became an iconic part of his branding, with cover art by Peter Saville that was designed to break from his past and present him as “grown-up,” approachable, and yes, ready for the pop charts.
Peter Gabriel’s So is more than just a chart-topping, genre-defying album — it’s a masterclass in creative tension, spontaneous genius, and joyful experimentation. And somehow, even after all this time, it still sounds as fresh as when it was first released.
